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Thursday, April 14, 2005

Sonata in D major III movement Mozart

alright this is long but bare with me. The theme is in D and rounded binary form. The A section consists of a symmetrical parallel period and ends on the dominant. The b section is more developmental with an asymmetrical contrasting period. The last four measures round it out bringing back the original expository material and key.

Variation 1The melody is still very present, just more ornamented.structural ideas are still the same. Rhythm and texture are what has changed the most here. Instead of eighths and quarters, we have triplet beats with the exception of measure 10 having eighths in the left hand. Dynamics are present with a movement from piano back to forte etc.

Variation 2this one is a little more ambiguous as far as moving away from the main melody. But the same structure is there as well as harmonic ideas, so it isnt moving too far away from the subject.triplets are still present in the left hand, but 16th notes carry us away from that idea in the right. Dynamics are alot like the dynamics in the first variation.

Variation 316ths are much more present here but i still feel like structural ideas are the same as well as harmonic, but this variation feels a little more shaky, like its moving away from the original harmony. yea thats all i have to say about that

Variation 4in this one 16ths are in the left hand but i still hear the melody in the right hand. That may bc im inclined to find it there...or just because it is.

Variation 5This one is alot slower with an eighth feel to it, but the dotted eights with the 16ths the third measure in and in the rest of the variation give it a little variety. I feel like this one moved away from the first subject alot more than the others.

Variation 6This one was cool. the melody is at the top with 16ths and low left hand activity supporting it. I paid attention to the left hand in this one alot more. There isnt alot going on in it, but it was very present to me. The tempo in this is very different from the previous variation..a little faster paced.

im tired

Variation 7ok this one was cool. first off...we're in d minor now. I feel like even though the structure was pretty much the same, i heard this differently. In the first subject, there is a half cadence four measures in..and it keeps the melody very calm. But in this variation we have a crescendo and building up into the half cadence. cool. It could just be the recording I listened to, but then the ending of the period at the 8th measure ends out in a piano, quiet. So the idea of building and release is kind of inverted there.

Variation 8back to D major this one was boring. The left and right hands have independent lines or contrapuntal whatever you want to call it.

Variation 9left hand and right hand feel more homophonic in this piece to me. The dynamics differ alot from 8.

Variation 10big change from 9...back to 16ths. quicker tempo. left hand carries melody in the beginning with a cool little diddy coming from the right hand.

Variation 11back into a slow tempo, and no more cut time. Left hand goes back to an accompaniment style, while right hand becomes more soloistic with the little trills and rounds.

Variation 12this variation goes back and forth from an 8th feel to a 16th feel in the first half. But the whole last part of it is full of the 16th note feel. We're in 3/4 time, so that's special. The piece is pretty darn happy, which is alot like the original subject, but of course since this is the end of this long movement, it's jazzed up a little more.